News & Updates

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  {
    "id": "john-martyn-sept-11-1948-jan-29-2009",
    "data": {
      "title": "John Martyn / Sept 11, 1948 - Jan 29, 2009",
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      "date": "2017-09-11T00:00:00.000Z"
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    "body": "![](/images/john-martyn_large.jpg)\n\nBritish singer/songwriter **John Martyn** was my favorite kind of folkie: a guy who took in a lot of different influences (jazz, folk, rock, Caribbean, Middle Eastern, blues) and tried new things with them. From his funky rock-inspired stuff to the dub-washed material from his time hanging at Lee Perry's Black Ark to the later trip-hop material, you could always count on Martyn for some of the most experimental ideas of the Brit-folkers.\n\nBorn to opera singing parents, his birth name was Iain David McGeachy. He was part of the fertile Brit-folk scene of the mid-'60s, along with Nick Drake, Bert Jansch, Davy Graham, Ralph McTell, etc. He signed to Island and after one pretty straight album he delved into experimentalist concepts, with heavy jazz and world music vibes.\n\nHis unique tricks included using Echoplex for live looping, several effects and phasers and jazzy vocal delivery. Among his collaborators through the years included his wife Beverly Kutner (in the early years), that ubiquitous folk-jazz bassist Danny Thompson, Phil Collins, Al Stewart, Levon Helm, Eric Clapton, John Paul Jones, David Gilmour and Sister Bliss (of Faithless), among others.\n\nHis 1980 album G _race & Danger_ was his darkest and most direct, reflecting on divorce & madness. Diabetic problems took his leg in 2003 but he continued his performing career from a wheelchair. But it was more the drugs and drink that really killed him. His position as a giant of British folk-rock remains intact, and his mix of traditional folk, electronics, pop and jazz is very listenable to this day.",
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      "html": "<p><img src=\"/images/john-martyn_large.jpg\" alt=\"\"></p>\n<p>British singer/songwriter <strong>John Martyn</strong> was my favorite kind of folkie: a guy who took in a lot of different influences (jazz, folk, rock, Caribbean, Middle Eastern, blues) and tried new things with them. From his funky rock-inspired stuff to the dub-washed material from his time hanging at Lee Perry’s Black Ark to the later trip-hop material, you could always count on Martyn for some of the most experimental ideas of the Brit-folkers.</p>\n<p>Born to opera singing parents, his birth name was Iain David McGeachy. He was part of the fertile Brit-folk scene of the mid-’60s, along with Nick Drake, Bert Jansch, Davy Graham, Ralph McTell, etc. He signed to Island and after one pretty straight album he delved into experimentalist concepts, with heavy jazz and world music vibes.</p>\n<p>His unique tricks included using Echoplex for live looping, several effects and phasers and jazzy vocal delivery. Among his collaborators through the years included his wife Beverly Kutner (in the early years), that ubiquitous folk-jazz bassist Danny Thompson, Phil Collins, Al Stewart, Levon Helm, Eric Clapton, John Paul Jones, David Gilmour and Sister Bliss (of Faithless), among others.</p>\n<p>His 1980 album G <em>race &#x26; Danger</em> was his darkest and most direct, reflecting on divorce &#x26; madness. Diabetic problems took his leg in 2003 but he continued his performing career from a wheelchair. But it was more the drugs and drink that really killed him. His position as a giant of British folk-rock remains intact, and his mix of traditional folk, electronics, pop and jazz is very listenable to this day.</p>",
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          "title": "John Martyn / Sept 11, 1948 - Jan 29, 2009",
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          "date": "September 11, 2017",
          "post": "John Martyn / Sept 11, 1948 - Jan 29, 2009",
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    "id": "chamaco-ramirez-sept-10-1941-march-27-1983",
    "data": {
      "title": "Chamaco Ramirez / Sept 10, 1941 - March 27, 1983",
      "slug": "chamaco-ramirez-sept-10-1941-march-27-1983",
      "date": "2017-09-10T00:00:00.000Z"
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    "body": "![](/images/alive_kicking_large.jpg)\n\nWith a documentary due out soon on this tragic Puerto Rican salsa sonero and songwriter, we should honor him on his date of birth. **Chamaco Ramirez** is most famous for singing with Tommy Olivencia, but his _Alive & Kicking_ album is a (formerly) lost classic. \n\nFrom Santurce, Puerto Rico, he joined the Olivencia band as a teenager, sharing lead vocals with Paquito Guzmán. He wrote \"Plante Bandera\" (which later became a reggaeton hit), \"Trucutu\" (covered by Marc Anthony) and \"Evelio Y La Rumba\". \n\nHe also sang with Kako and the Alegre All-Stars, among others, before his '79 classic...which turned out to be his only album as a leader. He was shot to death in a Bronx alley at 41.",
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      "html": "<p><img src=\"/images/alive_kicking_large.jpg\" alt=\"\"></p>\n<p>With a documentary due out soon on this tragic Puerto Rican salsa sonero and songwriter, we should honor him on his date of birth. <strong>Chamaco Ramirez</strong> is most famous for singing with Tommy Olivencia, but his <em>Alive &#x26; Kicking</em> album is a (formerly) lost classic.</p>\n<p>From Santurce, Puerto Rico, he joined the Olivencia band as a teenager, sharing lead vocals with Paquito Guzmán. He wrote “Plante Bandera” (which later became a reggaeton hit), “Trucutu” (covered by Marc Anthony) and “Evelio Y La Rumba”.</p>\n<p>He also sang with Kako and the Alegre All-Stars, among others, before his ‘79 classic…which turned out to be his only album as a leader. He was shot to death in a Bronx alley at 41.</p>",
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          "title": "Chamaco Ramirez / Sept 10, 1941 - March 27, 1983",
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    "id": "prince-lasha-sept-10-1929-dec-12-2008",
    "data": {
      "title": "Prince Lasha / Sept 10, 1929 - Dec 12, 2008",
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      "date": "2017-09-10T00:00:00.000Z"
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    "body": "![](/images/dl2o8G5_large.jpg)\n\nIn keeping with my tradition of profiling underrated reedsmen, we have to give the birthday nod to **Prince Lasha**! Pronounced \"la-shay\", our subject came from Fort Worth TX, where he played in the high school band with future icons Ornette Coleman, King Curtis, Dewey Redman, Charles Moffett and John Carter. \n\nOne of the great (if underknown) flautists in progressive jazz, his music sometimes displayed Eastern-tinged qualities He may remind some of Eric Dolphy, another multi-reedsman with whom Lasha collaborated, and he played alto sax and clarinet in addition to flute. (He also was a capable singer, as they say he did his best Billy Eckstine impersonations when he was younger). \n\nAfter traveling to Los Angeles with Coleman in the '50s, he found himself in NYC. He cut the classic _The Cry_ for Contemporary in '62 and the UK-recorded _Insight_ in '66. In the '60s he gigged with John Coltrane and Sonny Rollins, recorded with Dolphy, Don Cherry and Elvin Jones and in the '70s with violinist Michael White and on Gene Ammons' last record. \n\nBut his main sparring partner in those days was Sonny Simmons, with whom he made several records in the '60s & '70s with their Firebirds group. He most recently was working with Odean Pope before Lasha passed away in 2008.",
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      "html": "<p><img src=\"/images/dl2o8G5_large.jpg\" alt=\"\"></p>\n<p>In keeping with my tradition of profiling underrated reedsmen, we have to give the birthday nod to <strong>Prince Lasha</strong>! Pronounced “la-shay”, our subject came from Fort Worth TX, where he played in the high school band with future icons Ornette Coleman, King Curtis, Dewey Redman, Charles Moffett and John Carter.</p>\n<p>One of the great (if underknown) flautists in progressive jazz, his music sometimes displayed Eastern-tinged qualities He may remind some of Eric Dolphy, another multi-reedsman with whom Lasha collaborated, and he played alto sax and clarinet in addition to flute. (He also was a capable singer, as they say he did his best Billy Eckstine impersonations when he was younger).</p>\n<p>After traveling to Los Angeles with Coleman in the ’50s, he found himself in NYC. He cut the classic <em>The Cry</em> for Contemporary in ‘62 and the UK-recorded <em>Insight</em> in ‘66. In the ’60s he gigged with John Coltrane and Sonny Rollins, recorded with Dolphy, Don Cherry and Elvin Jones and in the ’70s with violinist Michael White and on Gene Ammons’ last record.</p>\n<p>But his main sparring partner in those days was Sonny Simmons, with whom he made several records in the ’60s &#x26; ’70s with their Firebirds group. He most recently was working with Odean Pope before Lasha passed away in 2008.</p>",
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          "title": "Prince Lasha / Sept 10, 1929 - Dec 12, 2008",
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          "post": "Prince Lasha / Sept 10, 1929 - Dec 12, 2008",
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  {
    "id": "raymond-scott-sept-10-1908-feb-8-1994",
    "data": {
      "title": "Raymond Scott / Sept 10, 1908 - Feb 8, 1994",
      "slug": "raymond-scott-sept-10-1908-feb-8-1994",
      "date": "2017-09-10T00:00:00.000Z"
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    "body": "![](/images/raymondscott_large.jpg)\n\nYou know those people who's music everyone knows but they've never heard of it's creator? Meet **Raymond Scott** , one of the wackiest composers out there. He was a dada-inspired jazz bandleader, an instrument-builder, a pioneer in electronics and the composer of the _Looney Tunes_ (arranged by Carl Stalling) and _Ren & Stimpy_ music.\n\nBorn Harry Warnow in Brooklyn to a family of Russian Jews, he started working for his brother in the CBS Radio house band as a pianist, changing his name to \"Raymond Scott\" (how to avoid claims of nepotism) before forming his spin-off Quintette in 1936. (It was a six-piece band but he said that calling it a Sextet would \"get your mind off music\"). A couple of the original members were Bunny Berigan and drummer Johnny Williams, who was the father of _Star Wars_ composer John Williams.\n\nScott's type of swing jazz largely dispensed with live improvisation, preferring the musicians to play everything exactly as written. (Which is interesting because some of this sounds like proto-bebop.) This led to hatred from jazz snobs, although his songs were popular. In '39 he expanded the group to a big band and he created the first racially integrated band in the radio industry. Ben Webster, Cozy Cole and others were in this group.\n\nIn '41 he led an entertaining \"silent music\" orchestra of thirteen barely-playing musicians. He was a masterful sound engineer and was employing an early version of multi-tracking around the same time as Les Paul. He composed for Broadway shows, had a classical concert at Carnegie Hall in '50 and ran his two record labels.\n\nIn '46 he started one of the earliest studios devoted to electronic music/musique concréte, Manhattan Research, a company that built electronic instruments like early rhythm machines, synthesizers, early MIDI and ring modulators. In fact, he and Bob Moog collaborated. He also designed musical versions of many common household items. This was funded by his day jobs: he wrote commercial jingles, led an orchestra on NBC television from '50-57.\n\nIn the late '50s he worked for Everest and produced records for Gloria Lynne and his own Secret 7 group (with Kenny Burrell, Milt Hinton, Elvin Jones and others). He made records with his wife, singer Dorothy Collins. His 1964 minimalist project _Soothing Sounds For Baby_ was intended as sleep-aid music for infants. In the mid-'60s he composed electronic sounds for Jim Henson. He worked for Motown in the '70s.\n\nThe genius influenced Carl Stalling, Robert Moog, John Zorn, Hal Willner, Roger Miller (Mission of Burma), Don Byron and \"Powerhouse\" is a perennial cartoon classic (and has been covered by Rush). \"The Toy Trumpet\" was a huge hit for Al Hirt and Scott's music has been sampled by several hip-hop producers.",
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      "html": "<p><img src=\"/images/raymondscott_large.jpg\" alt=\"\"></p>\n<p>You know those people who’s music everyone knows but they’ve never heard of it’s creator? Meet <strong>Raymond Scott</strong> , one of the wackiest composers out there. He was a dada-inspired jazz bandleader, an instrument-builder, a pioneer in electronics and the composer of the <em>Looney Tunes</em> (arranged by Carl Stalling) and <em>Ren &#x26; Stimpy</em> music.</p>\n<p>Born Harry Warnow in Brooklyn to a family of Russian Jews, he started working for his brother in the CBS Radio house band as a pianist, changing his name to “Raymond Scott” (how to avoid claims of nepotism) before forming his spin-off Quintette in 1936. (It was a six-piece band but he said that calling it a Sextet would “get your mind off music”). A couple of the original members were Bunny Berigan and drummer Johnny Williams, who was the father of <em>Star Wars</em> composer John Williams.</p>\n<p>Scott’s type of swing jazz largely dispensed with live improvisation, preferring the musicians to play everything exactly as written. (Which is interesting because some of this sounds like proto-bebop.) This led to hatred from jazz snobs, although his songs were popular. In ‘39 he expanded the group to a big band and he created the first racially integrated band in the radio industry. Ben Webster, Cozy Cole and others were in this group.</p>\n<p>In ‘41 he led an entertaining “silent music” orchestra of thirteen barely-playing musicians. He was a masterful sound engineer and was employing an early version of multi-tracking around the same time as Les Paul. He composed for Broadway shows, had a classical concert at Carnegie Hall in ‘50 and ran his two record labels.</p>\n<p>In ‘46 he started one of the earliest studios devoted to electronic music/musique concréte, Manhattan Research, a company that built electronic instruments like early rhythm machines, synthesizers, early MIDI and ring modulators. In fact, he and Bob Moog collaborated. He also designed musical versions of many common household items. This was funded by his day jobs: he wrote commercial jingles, led an orchestra on NBC television from ‘50-57.</p>\n<p>In the late ’50s he worked for Everest and produced records for Gloria Lynne and his own Secret 7 group (with Kenny Burrell, Milt Hinton, Elvin Jones and others). He made records with his wife, singer Dorothy Collins. His 1964 minimalist project <em>Soothing Sounds For Baby</em> was intended as sleep-aid music for infants. In the mid-’60s he composed electronic sounds for Jim Henson. He worked for Motown in the ’70s.</p>\n<p>The genius influenced Carl Stalling, Robert Moog, John Zorn, Hal Willner, Roger Miller (Mission of Burma), Don Byron and “Powerhouse” is a perennial cartoon classic (and has been covered by Rush). “The Toy Trumpet” was a huge hit for Al Hirt and Scott’s music has been sampled by several hip-hop producers.</p>",
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          "title": "Raymond Scott / Sept 10, 1908 - Feb 8, 1994",
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  {
    "id": "roy-brown-sept-10-1925-may-25-1981",
    "data": {
      "title": "Roy Brown / Sept 10, 1925 - May 25, 1981",
      "slug": "roy-brown-sept-10-1925-may-25-1981",
      "date": "2017-09-10T00:00:00.000Z"
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    "body": "![](/images/Roy_Brown1_large.jpg)\n\nHappy birthday to the jump-blues icon **Roy Brown** , one of the foundational artists of rock & roll and the composer of the massive 1948 hit \"Good Rocking Tonight\", which was successful for both Brown and Wynonie Harris that same year. \n\nFrom New Orleans, he went to Los Angeles in the '40s to be a pro boxer and work in the sugarcane fields.  He moved to Texas in '46, where he wrote and started performing \"Good Rocking Tonight\". \"Hard Luck Blues\" was another big one for him in 1950. After defeating King Records in court in 1952 for unpaid royalties, the labels blacklisted him (although he would return to King later in the decade). He spent some time in jail in the mid '50s due to tax problems. There was a '67 album (_Hard Times_) on Bluesway. \n\nAlthough his popularity faded, he was not forgotten overseas: In '78 he toured Scandinavia. Not a bad comeback for a guy who was selling encyclopedias for a living, long forgotten in the US. He died of a heart attack at 55, with his funeral service conducted by Johnny Otis. Simply put, without Roy Brown's contributions there would be no Elvis Presley, no James Brown, no Jerry Lee Lewis, no Jackie Wilson, etc.",
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      "html": "<p><img src=\"/images/Roy_Brown1_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the jump-blues icon <strong>Roy Brown</strong> , one of the foundational artists of rock &#x26; roll and the composer of the massive 1948 hit “Good Rocking Tonight”, which was successful for both Brown and Wynonie Harris that same year.</p>\n<p>From New Orleans, he went to Los Angeles in the ’40s to be a pro boxer and work in the sugarcane fields.  He moved to Texas in ‘46, where he wrote and started performing “Good Rocking Tonight”. “Hard Luck Blues” was another big one for him in 1950. After defeating King Records in court in 1952 for unpaid royalties, the labels blacklisted him (although he would return to King later in the decade). He spent some time in jail in the mid ’50s due to tax problems. There was a ‘67 album (<em>Hard Times</em>) on Bluesway.</p>\n<p>Although his popularity faded, he was not forgotten overseas: In ‘78 he toured Scandinavia. Not a bad comeback for a guy who was selling encyclopedias for a living, long forgotten in the US. He died of a heart attack at 55, with his funeral service conducted by Johnny Otis. Simply put, without Roy Brown’s contributions there would be no Elvis Presley, no James Brown, no Jerry Lee Lewis, no Jackie Wilson, etc.</p>",
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  {
    "id": "bruce-palmer-sept-9-1946-oct-1-2004",
    "data": {
      "title": "Bruce Palmer / Sept 9, 1946 - Oct 1, 2004",
      "slug": "bruce-palmer-sept-9-1946-oct-1-2004",
      "date": "2017-09-09T00:00:00.000Z"
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    "body": "![](/images/The_Cycle_Is_Complete_cover_large.jpg)\n\nOne of the great left-field albums came from former Buffalo Springfield bassist **Bruce Palmer** , with his seemingly unmarketable (at the time) Eastern-tinged folk-jazz oddity _The Cycle Is Complete_ , released in 1970 on Verve to little fanfare and nearly no promotion.\n\nPalmer's only album as a leader, he was given complete artistic control only for him to come up with an unexpected psychedelic improvisational (almost in the realm of \"spiritual-jazz\" a la Pharoah Sanders) spacey folk record with members of Kaleidoscope, Caribbean percussionist Big Black and young Rick James (billed as \"Rick Matthews\"). Verve had no idea what to do with it and were so pissed off that they refused to promote it, effectively sending Palmer into retirement, with this masterpiece his \"fuck you\" statement to the record industry. Over forty years later it is considered a lost classic and has been reissued several times over. (Note, the CD and vinyl editions may have alternate mixes).\n\nFrom Toronto, Palmer was a member of an early incarnation of Steppenwolf (Jack London & the Sparrows) before joining the Mynah Birds in '65 with his longtime friends Neil Young and Rick James. The group was signed to Motown and were about to release their first single when they discovered that James was a draft-dodger and the release was halted and the band broke up.\n\nIn '66 Palmer and Young traveled to the Los Angeles in Young's hearse in search of Neil's old friend Stephen Stills. They formed the Buffalo Springfield and had some national acclaim and were very popular in LA. Palmer was deported in '67 and soon after the band split. Upon return to the States Palmer briefly joined Crosby, Stills, Nash & Young in '69 as bassist before being replaced.\n\nAfter _The Cycle Is Complete_ he returned to Canada, retired save for a few gigs in Toronto with local bands. He last appeared on Young's 1983 _Trans_ album and played with Buffalo Springfield Revisited in the mid-'80s before fading out of sight.",
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      "html": "<p><img src=\"/images/The_Cycle_Is_Complete_cover_large.jpg\" alt=\"\"></p>\n<p>One of the great left-field albums came from former Buffalo Springfield bassist <strong>Bruce Palmer</strong> , with his seemingly unmarketable (at the time) Eastern-tinged folk-jazz oddity <em>The Cycle Is Complete</em> , released in 1970 on Verve to little fanfare and nearly no promotion.</p>\n<p>Palmer’s only album as a leader, he was given complete artistic control only for him to come up with an unexpected psychedelic improvisational (almost in the realm of “spiritual-jazz” a la Pharoah Sanders) spacey folk record with members of Kaleidoscope, Caribbean percussionist Big Black and young Rick James (billed as “Rick Matthews”). Verve had no idea what to do with it and were so pissed off that they refused to promote it, effectively sending Palmer into retirement, with this masterpiece his “fuck you” statement to the record industry. Over forty years later it is considered a lost classic and has been reissued several times over. (Note, the CD and vinyl editions may have alternate mixes).</p>\n<p>From Toronto, Palmer was a member of an early incarnation of Steppenwolf (Jack London &#x26; the Sparrows) before joining the Mynah Birds in ‘65 with his longtime friends Neil Young and Rick James. The group was signed to Motown and were about to release their first single when they discovered that James was a draft-dodger and the release was halted and the band broke up.</p>\n<p>In ‘66 Palmer and Young traveled to the Los Angeles in Young’s hearse in search of Neil’s old friend Stephen Stills. They formed the Buffalo Springfield and had some national acclaim and were very popular in LA. Palmer was deported in ‘67 and soon after the band split. Upon return to the States Palmer briefly joined Crosby, Stills, Nash &#x26; Young in ‘69 as bassist before being replaced.</p>\n<p>After <em>The Cycle Is Complete</em> he returned to Canada, retired save for a few gigs in Toronto with local bands. He last appeared on Young’s 1983 <em>Trans</em> album and played with Buffalo Springfield Revisited in the mid-’80s before fading out of sight.</p>",
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    "id": "elvin-jones-sept-9-1927-may-18-2004",
    "data": {
      "title": "Elvin Jones / Sept 9, 1927 - May 18, 2004",
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      "date": "2017-09-09T00:00:00.000Z"
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    "body": "![](/images/elvinjones_large.jpg)\n\nHappy birthday to **Elvin Jones**! The amazing polyrhythmic \"heavy bop\" drummer from Detroit was already a seasoned veteran of many years before he ever hooked up with John Coltrane. His intense drumming style largely changed the swing dynamic in jazz to a more African-inspired one, subsequently influencing a million drummers along the way, including rock legends Ginger Baker (whom he has played with) and Mitch Mitchell (Jimi: 'my Elvin Jones\").\n\nHe came from Detroit, son of an auto worker and youngest brother to well-known pianist Hank and trumpeter Thad Jones (both of whom he'd collaborate with professionally). He played in school and bought his first kit in '49, kicking off a career that brought him to NYC in '55 where he found quick work with Charlie Parker, Charles Mingus, Miles Davis, JJ Johnson, Bud Powell, Raymond Scott, Donald Byrd, Quincy Jones (no relation), Steve Lacy, Randy Weston and others. Sonny Rollins' _Night At The Village Vanguard_ ('57) was a killer.\n\nHe joined Trane's band during the Atlantic years and the famous Quartet revolutionized jazz until Elvin left Trane in '66. Much has been said about that, but he also continued creative projects during and after his time with John, working with his Trane associates, as well as Duke Ellington, Roland Kirk, Wayne Shorter, Oregon, Yusef Lateef, Ornette Coleman, Grant Green, Larry Young, Joe Henderson, Albert Mangelsdorff and his own excellent dates for Impulse!, Atlantic, Blue Note, Vanguard and other labels. He memorably appeared in the 1971 Western flick _Zachariah_ , where he wins a shoot-out and takes a drum solo!\n\nLater notable work included recordings with Pharoah Sanders, David Murray, Sonny Sharrock, Bill Frisell and 1998's _Momentum Space_ , a trio with Cecil Taylor and Dewey Redman. In '99 played with grunge rock band Our Lady Peace. He spent a lot of time in Japan and was also an educator. He also gave concerts in prisons, being an ex-con himself. Truly one of the greatest ever!",
    "filePath": "content/posts/elvin-jones-sept-9-1927-may-18-2004.md",
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      "html": "<p><img src=\"/images/elvinjones_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to <strong>Elvin Jones</strong>! The amazing polyrhythmic “heavy bop” drummer from Detroit was already a seasoned veteran of many years before he ever hooked up with John Coltrane. His intense drumming style largely changed the swing dynamic in jazz to a more African-inspired one, subsequently influencing a million drummers along the way, including rock legends Ginger Baker (whom he has played with) and Mitch Mitchell (Jimi: ‘my Elvin Jones”).</p>\n<p>He came from Detroit, son of an auto worker and youngest brother to well-known pianist Hank and trumpeter Thad Jones (both of whom he’d collaborate with professionally). He played in school and bought his first kit in ‘49, kicking off a career that brought him to NYC in ‘55 where he found quick work with Charlie Parker, Charles Mingus, Miles Davis, JJ Johnson, Bud Powell, Raymond Scott, Donald Byrd, Quincy Jones (no relation), Steve Lacy, Randy Weston and others. Sonny Rollins’ <em>Night At The Village Vanguard</em> (‘57) was a killer.</p>\n<p>He joined Trane’s band during the Atlantic years and the famous Quartet revolutionized jazz until Elvin left Trane in ‘66. Much has been said about that, but he also continued creative projects during and after his time with John, working with his Trane associates, as well as Duke Ellington, Roland Kirk, Wayne Shorter, Oregon, Yusef Lateef, Ornette Coleman, Grant Green, Larry Young, Joe Henderson, Albert Mangelsdorff and his own excellent dates for Impulse!, Atlantic, Blue Note, Vanguard and other labels. He memorably appeared in the 1971 Western flick <em>Zachariah</em> , where he wins a shoot-out and takes a drum solo!</p>\n<p>Later notable work included recordings with Pharoah Sanders, David Murray, Sonny Sharrock, Bill Frisell and 1998’s <em>Momentum Space</em> , a trio with Cecil Taylor and Dewey Redman. In ‘99 played with grunge rock band Our Lady Peace. He spent a lot of time in Japan and was also an educator. He also gave concerts in prisons, being an ex-con himself. Truly one of the greatest ever!</p>",
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          "title": "Elvin Jones / Sept 9, 1927 - May 18, 2004",
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          "date": "September 09, 2017",
          "post": "Elvin Jones / Sept 9, 1927 - May 18, 2004",
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    "id": "otis-redding-sept-9-1941-dec-10-1967",
    "data": {
      "title": "Otis Redding / Sept 9, 1941 - Dec 10, 1967",
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      "date": "2017-09-09T00:00:00.000Z"
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    "body": "![](/images/otis_large.jpg)\n\nHappy birthday to one of the greatest soul men to ever live, the irreplaceable **Otis Redding**!",
    "filePath": "content/posts/otis-redding-sept-9-1941-dec-10-1967.md",
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      "html": "<p><img src=\"/images/otis_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to one of the greatest soul men to ever live, the irreplaceable <strong>Otis Redding</strong>!</p>",
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          "title": "Otis Redding / Sept 9, 1941 - Dec 10, 1967",
          "pagination": "https://www.peaceandrhythm.com/?page=18",
          "date": "September 09, 2017",
          "post": "Otis Redding / Sept 9, 1941 - Dec 10, 1967",
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  {
    "id": "marion-brown-sept-8-1931-oct-18-2010",
    "data": {
      "title": "Marion Brown / Sept 8, 1931 - Oct 18, 2010",
      "slug": "marion-brown-sept-8-1931-oct-18-2010",
      "date": "2017-09-08T00:00:00.000Z"
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    "body": "![](/images/marionbrown_wide-430ee9bf550cf9bedcaf30d641da88cf3744382b-s6-c30_large.jpg)\n\nHappy birthday to the alto sax icon **Marion Brown**! He made so many great records, from the ESP Disks to the records with Gunter Hampel, the awesome early '70s trilogy (_Afternoon of a Georgia Faun_ , _Geechee Recollections_ and _Sweet Earth Flying_), some records for Freedom and Baystate and on and on.\n\nPlus he started his Sweet Earth label out of Western Massachusetts. He played with John Coltrane, Archie Shepp, Stanley Cowell, Harold Budd and others and was an educator and a fine artist (drawing, painting). I was fortunate enough to meet him in the '90s. His son Djinji was in the hardcore band Absolution as well as a house-music producer.",
    "filePath": "content/posts/marion-brown-sept-8-1931-oct-18-2010.md",
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      "html": "<p><img src=\"/images/marionbrown_wide-430ee9bf550cf9bedcaf30d641da88cf3744382b-s6-c30_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the alto sax icon <strong>Marion Brown</strong>! He made so many great records, from the ESP Disks to the records with Gunter Hampel, the awesome early ’70s trilogy (<em>Afternoon of a Georgia Faun</em> , <em>Geechee Recollections</em> and <em>Sweet Earth Flying</em>), some records for Freedom and Baystate and on and on.</p>\n<p>Plus he started his Sweet Earth label out of Western Massachusetts. He played with John Coltrane, Archie Shepp, Stanley Cowell, Harold Budd and others and was an educator and a fine artist (drawing, painting). I was fortunate enough to meet him in the ’90s. His son Djinji was in the hardcore band Absolution as well as a house-music producer.</p>",
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          "title": "Marion Brown / Sept 8, 1931 - Oct 18, 2010",
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          "date": "September 08, 2017",
          "post": "Marion Brown / Sept 8, 1931 - Oct 18, 2010",
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  {
    "id": "wilbur-ware-sept-8-1923-sept-9-1979",
    "data": {
      "title": "Wilbur Ware / Sept 8, 1923 - Sept 9, 1979",
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      "date": "2017-09-08T00:00:00.000Z"
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    "body": "![](/images/wilbur_ware_large.jpg)\n\nThe great jazz bassist **Wilber Ware** was born on this day. He only made one album as a leader but his unique style can be heard on many records, not the least of which are by Thelonious Monk.\n\nThe Chicago native was largely self-taught as a bassist of unique and unorthodox talent. He dabbled with drums and banjo and sang gospel. He played in local swing bands in the '40s, as well as bebop. Some Chicago experience early on included work with Sonny Stitt, Roy Eldridge, Stuff Smith and he played on some early '50s recordings with Johnny Griffin and an early version of Sun Ra's Arkestra.\n\nIn '56 he moved to NYC to play in Art Blakey's group. He was a house musician at Riverside Records, worked tons of Blue Note sessions and could play with old school bop guys and younger free jazzers. Ware was one of the few from his generation to embrace the avant-garde. He worked in Monk's group with John Coltrane. His only album, _The_ _Chicago Sound_ , was released in '57 and featured Griffin and Junior Mance.\n\nHe played with Sonny Rollins (check out the classic trio recording _A Night At The Village Vanguard_), Clifford Jordan, Grant Green, Lee Morgan, Herbie Mann, Elvin Jones, Don Cherry, Kenny Dorham, Archie Shepp and many more.",
    "filePath": "content/posts/wilbur-ware-sept-8-1923-sept-9-1979.md",
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      "html": "<p><img src=\"/images/wilbur_ware_large.jpg\" alt=\"\"></p>\n<p>The great jazz bassist <strong>Wilber Ware</strong> was born on this day. He only made one album as a leader but his unique style can be heard on many records, not the least of which are by Thelonious Monk.</p>\n<p>The Chicago native was largely self-taught as a bassist of unique and unorthodox talent. He dabbled with drums and banjo and sang gospel. He played in local swing bands in the ’40s, as well as bebop. Some Chicago experience early on included work with Sonny Stitt, Roy Eldridge, Stuff Smith and he played on some early ’50s recordings with Johnny Griffin and an early version of Sun Ra’s Arkestra.</p>\n<p>In ‘56 he moved to NYC to play in Art Blakey’s group. He was a house musician at Riverside Records, worked tons of Blue Note sessions and could play with old school bop guys and younger free jazzers. Ware was one of the few from his generation to embrace the avant-garde. He worked in Monk’s group with John Coltrane. His only album, <em>The</em> <em>Chicago Sound</em> , was released in ‘57 and featured Griffin and Junior Mance.</p>\n<p>He played with Sonny Rollins (check out the classic trio recording <em>A Night At The Village Vanguard</em>), Clifford Jordan, Grant Green, Lee Morgan, Herbie Mann, Elvin Jones, Don Cherry, Kenny Dorham, Archie Shepp and many more.</p>",
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          "title": "Wilbur Ware / Sept 8, 1923 - Sept 9, 1979",
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          "date": "September 08, 2017",
          "post": "Wilbur Ware / Sept 8, 1923 - Sept 9, 1979",
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  {
    "id": "buddy-holly-sept-7-1936-feb-3-1959",
    "data": {
      "title": "Buddy Holly / Sept 7, 1936 - Feb 3, 1959",
      "slug": "buddy-holly-sept-7-1936-feb-3-1959",
      "date": "2017-09-07T00:00:00.000Z"
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    "body": "![](/images/Hollyarchive_large.jpg)\n\nIt's hard to believe that this guy never lived to see 23. One of my favorite of the early rockers, had he lived he was eyeing collaborations with Ray Charles and Mahalia Jackson. Happy birthday to **Buddy Holly**!",
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      "html": "<p><img src=\"/images/Hollyarchive_large.jpg\" alt=\"\"></p>\n<p>It’s hard to believe that this guy never lived to see 23. One of my favorite of the early rockers, had he lived he was eyeing collaborations with Ray Charles and Mahalia Jackson. Happy birthday to <strong>Buddy Holly</strong>!</p>",
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          "title": "Buddy Holly / Sept 7, 1936 - Feb 3, 1959",
          "pagination": "https://www.peaceandrhythm.com/?page=19",
          "date": "September 07, 2017",
          "post": "Buddy Holly / Sept 7, 1936 - Feb 3, 1959",
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  {
    "id": "little-milton-sept-7-1934-aug-4-2005",
    "data": {
      "title": "Little Milton / Sept 7, 1934 - Aug 4, 2005",
      "slug": "little-milton-sept-7-1934-aug-4-2005",
      "date": "2017-09-07T00:00:00.000Z"
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    "body": "![](/images/107399384-little-milton-poses-for-a-studio-portrait-in-gettyimages_large.jpg)\n\nHappy birthday to the soulful blues guitarist and singer **Little Milton** , most famous for his hit version of \"Grits Ain't Groceries\" and his fine albums on Chess, Stax and Malaco. He is generally known to fit into the BB King/Albert King style of brassy, soulful blues with strings and such. It's a formula that found Milton some hits songs in the '60s & '70s.\n\nFrom the Mississippi Delta, his father Big Milton was a blues musician and Little Milton got into country music and jump blues, with T-Bone Walker a particularly big influence. He started his career with the Rhythm Aces in the early '50s, playing around the region (including backing Sonny Boy Williamson II) before being discovered by Ike Turner, who brought Milton to Sun Records to cut some singles.\n\nWithout much success at Sun, Meteor or Trumpet, among other labels, Milton moved to St Louis in '58 and started his own Bobbin Records, producing records by Albert King and Fontella Bass (as well as his own) and worked a distribution deal with Chess. He had a 1962 chart hit with \"So Mean To Me\".\n\nIn the mid-'60s he changed up his sound to that of a more soul approach. He joined the Stax roster in the early '70s, adding orchestral elements to his sound and he appeared in the _WattStax_ movie. Stax folded in '75 and he went to the TK label and then to MCA in the early '80s. He struggled to regain chart positioning until hooking up with Malaco in '83. He made some appearances with Govt Mule before passing away after a stroke.",
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      "html": "<p><img src=\"/images/107399384-little-milton-poses-for-a-studio-portrait-in-gettyimages_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to the soulful blues guitarist and singer <strong>Little Milton</strong> , most famous for his hit version of “Grits Ain’t Groceries” and his fine albums on Chess, Stax and Malaco. He is generally known to fit into the BB King/Albert King style of brassy, soulful blues with strings and such. It’s a formula that found Milton some hits songs in the ’60s &#x26; ’70s.</p>\n<p>From the Mississippi Delta, his father Big Milton was a blues musician and Little Milton got into country music and jump blues, with T-Bone Walker a particularly big influence. He started his career with the Rhythm Aces in the early ’50s, playing around the region (including backing Sonny Boy Williamson II) before being discovered by Ike Turner, who brought Milton to Sun Records to cut some singles.</p>\n<p>Without much success at Sun, Meteor or Trumpet, among other labels, Milton moved to St Louis in ‘58 and started his own Bobbin Records, producing records by Albert King and Fontella Bass (as well as his own) and worked a distribution deal with Chess. He had a 1962 chart hit with “So Mean To Me”.</p>\n<p>In the mid-’60s he changed up his sound to that of a more soul approach. He joined the Stax roster in the early ’70s, adding orchestral elements to his sound and he appeared in the <em>WattStax</em> movie. Stax folded in ‘75 and he went to the TK label and then to MCA in the early ’80s. He struggled to regain chart positioning until hooking up with Malaco in ‘83. He made some appearances with Govt Mule before passing away after a stroke.</p>",
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          "date": "September 07, 2017",
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  {
    "id": "makanda-ken-mcintyre-sept-7-1931-june-13-2001",
    "data": {
      "title": "Makanda Ken McIntyre / Sept 7, 1931 - June 13, 2001",
      "slug": "makanda-ken-mcintyre-sept-7-1931-june-13-2001",
      "date": "2017-09-07T00:00:00.000Z"
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    "body": "![](/images/ken.mcintyre.studio.13-sm_large.jpg)\n\nToday we honor another underrated reedsman of the '60s/70s creative jazz scene, **Makanda Ken McIntyre**. While his main axe was the alto sax, he recorded on many different wind instruments: flute, oboe, bass clarinet, tenor sax, soprano sax, bassoon. In addition he was a capable pianist and drummer.\n\nHe wrote or arranged hundreds of tunes, incorporating bebop, blues, calypso, avant-garde into his style. He composed for jazz combos, chamber groups, orchestra, woodwind quartets, film & television scores and made several classic, if under-known, albums as a leader. He had a long and distinguished career as an educator, both in the NYC schools and on the university level. He was also a writer and activist. \n\nA Jamaican-American who grew up in Boston's bad old South End, he burst onto the scene in 1960 in partnership with Eric Dolphy and their progressive _Looking Ahead_ album. He cut records for Prestige, United Artists, Inner City and SteepleChase (he was well known in Scandinavia). In the '60s he played with Bill Dixon and on Cecil Taylor's bangin' 1966 date _Unit Structures_. \n\nHe also played or recorded with the collective Jazz Composers Orchestra, Nat Adderly, Craig Harris, Carla Bley, Joanne Brackeen, David Murray and Charlie Haden's protest band Liberation Music Orchestra. He was also, notably, a member of Beaver Harris' experimental improvising world-music fusion ensemble 360 Degree Experience. \n\nHe made an interesting solo album in '96 called _In The Wind: The Woodwind Quartets_ on which he overdubbed layers of reed instruments. He spent some time in Bolivia and the Middle East, as well as Zimbabwe, where he picked up the name \"Makanda\", which means \"many heads\" in Shona. Explore his music.",
    "filePath": "content/posts/makanda-ken-mcintyre-sept-7-1931-june-13-2001.md",
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      "html": "<p><img src=\"/images/ken.mcintyre.studio.13-sm_large.jpg\" alt=\"\"></p>\n<p>Today we honor another underrated reedsman of the ’60s/70s creative jazz scene, <strong>Makanda Ken McIntyre</strong>. While his main axe was the alto sax, he recorded on many different wind instruments: flute, oboe, bass clarinet, tenor sax, soprano sax, bassoon. In addition he was a capable pianist and drummer.</p>\n<p>He wrote or arranged hundreds of tunes, incorporating bebop, blues, calypso, avant-garde into his style. He composed for jazz combos, chamber groups, orchestra, woodwind quartets, film &#x26; television scores and made several classic, if under-known, albums as a leader. He had a long and distinguished career as an educator, both in the NYC schools and on the university level. He was also a writer and activist.</p>\n<p>A Jamaican-American who grew up in Boston’s bad old South End, he burst onto the scene in 1960 in partnership with Eric Dolphy and their progressive <em>Looking Ahead</em> album. He cut records for Prestige, United Artists, Inner City and SteepleChase (he was well known in Scandinavia). In the ’60s he played with Bill Dixon and on Cecil Taylor’s bangin’ 1966 date <em>Unit Structures</em>.</p>\n<p>He also played or recorded with the collective Jazz Composers Orchestra, Nat Adderly, Craig Harris, Carla Bley, Joanne Brackeen, David Murray and Charlie Haden’s protest band Liberation Music Orchestra. He was also, notably, a member of Beaver Harris’ experimental improvising world-music fusion ensemble 360 Degree Experience.</p>\n<p>He made an interesting solo album in ‘96 called <em>In The Wind: The Woodwind Quartets</em> on which he overdubbed layers of reed instruments. He spent some time in Bolivia and the Middle East, as well as Zimbabwe, where he picked up the name “Makanda”, which means “many heads” in Shona. Explore his music.</p>",
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  {
    "id": "buddy-bolden-sept-6-1877-nov-4-1931",
    "data": {
      "title": "Buddy Bolden / Sept 6, 1877 - Nov 4, 1931",
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      "date": "2017-09-06T00:00:00.000Z"
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    "body": "![](/images/Buddy-Bolden_large.jpg)\n\nHappy birthday to **Buddy Bolden** , one of the creators of the amazing artform known as \"jazz\". A New Orleans-born cornetist, King Bolden's band was very popular in the city at the turn of the twentieth century. They say he used to improvise against the established rhythm in the marching bands, effectively inventing the jazz solo. \n\nHe synthesized ragtime, blues, gospel and marching bands, relegating the strings to the rhythm and bringing the horns to the front. A major influence on King Oliver, Jelly Roll Morton and Louis Armstrong, it is fair to call him one of the most important figures in the history of black music in America. \n\nWhile research seems to have proved that Bolden did make a recording on cylinder for Edison in 1898, it has never been found. Interestingly, Bolden's band played a tune called \"Funky Butt\", a song about farting, the very first use of the word \"funk\" in relation to music. It was reportedly played in seedier venues and the song became banned after attaining popularity in the city, leading to its retitling as \"Buddy Bolden's Blues\".\n\nHe was reputedly a heavy drinker and had a way with the women. In 1907 he was deemed schizophrenic and locked up in an institution for the remainder of his life, having never had a record released. He spent the last two-plus decades of his existence locked up and forgotten about, while the music he invented became one of the dominant popular styles.\n\nHere's Jelly Roll Morton on our subject:",
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      "html": "<p><img src=\"/images/Buddy-Bolden_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to <strong>Buddy Bolden</strong> , one of the creators of the amazing artform known as “jazz”. A New Orleans-born cornetist, King Bolden’s band was very popular in the city at the turn of the twentieth century. They say he used to improvise against the established rhythm in the marching bands, effectively inventing the jazz solo.</p>\n<p>He synthesized ragtime, blues, gospel and marching bands, relegating the strings to the rhythm and bringing the horns to the front. A major influence on King Oliver, Jelly Roll Morton and Louis Armstrong, it is fair to call him one of the most important figures in the history of black music in America.</p>\n<p>While research seems to have proved that Bolden did make a recording on cylinder for Edison in 1898, it has never been found. Interestingly, Bolden’s band played a tune called “Funky Butt”, a song about farting, the very first use of the word “funk” in relation to music. It was reportedly played in seedier venues and the song became banned after attaining popularity in the city, leading to its retitling as “Buddy Bolden’s Blues”.</p>\n<p>He was reputedly a heavy drinker and had a way with the women. In 1907 he was deemed schizophrenic and locked up in an institution for the remainder of his life, having never had a record released. He spent the last two-plus decades of his existence locked up and forgotten about, while the music he invented became one of the dominant popular styles.</p>\n<p>Here’s Jelly Roll Morton on our subject:</p>",
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          "title": "Buddy Bolden / Sept 6, 1877 - Nov 4, 1931",
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          "date": "September 06, 2017",
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    "id": "clifford-thornton-sept-6-1936-nov-25-1989",
    "data": {
      "title": "Clifford Thornton / Sept 6, 1936(?) - Nov 25, 1989(?)",
      "slug": "clifford-thornton-sept-6-1936-nov-25-1989",
      "date": "2017-09-06T00:00:00.000Z"
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    "body": "![](/images/2_Clifford_-_photo_large.gif)\n\nSending out a birthday to salute to **Clifford Thornton** , a cult free-jazz composer (and former Black Panther Party Minister of Art) who released a spate of classics from '67-'75 on various independent labels. In some ways he could be likened to the Eric Dolphy of his generation, a multi-instrumentalist artist who greatly impacted contemporary musicians around him while remaining out of the general public's eye.\n\nFrom Philly, he was a cousin to jazz drummer J.C. Moses. At seven he started learning piano and as a teenager studied with Donald Byrd and played with jazz tuba player Ray Draper. After moving to NYC in the early '60s he was hanging around with Don Cherry, Rashied Ali, Amiri Baraka and Marion Brown and found himself playing with Sun Ra, Bill Dixon, Sam Rivers, Archie Shepp and Pharaoh Sanders. He contributed to Marzette Watts' 1966 debut. Thornton's own 1967 debut, _Freedom & Unity_, featured John Coltrane's bassist Jimmy Garrison (recorded the day after Trane's funeral) and a young Joe McPhee.\n\nIn '69 Thornton traveled to Algeria with Shepp, followed by some concerts in Belgium and recording in Paris for Actuel, which would result in his _Ketchaoua_ LP, as well as sides for several other artists on the scene. 1970 saw the release of another underknown Thornton gem, _The Panther & The Lash_.\n\nHe taught at Wesleyan through '75, presenting jazz & world music of high regard to the students (Horace Silver, Milton Cardona, L. Shankar, Ed Blackwell were among those brought by Thornton). His '72 album _Communications Network_ included Shankar, Sirone and Jayne Cortez, while his absolutely amazing _The Gardens of Harlem_ ('74) with the Jazz Composers Orchestra brought out Cuban and West African rhythms.\n\nHis music was certainly art music, as well it was highly politicized. Well regarded as an arranger and composer, he could play trumpet, cornet, valve trombone, shenai, piano and was a huge influence on McPhee, Fred Ho, Peter Zummo and others. His own catalogue was scant but you can also find him on releases by Anthony Braxton, Joe Malinga, Dave Burrell, Arthur Jones, Sunny Murray, the Full Moon Ensemble and several late '60s Shepp records. He remains one of my favorites.",
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      "html": "<p><img src=\"/images/2_Clifford_-_photo_large.gif\" alt=\"\"></p>\n<p>Sending out a birthday to salute to <strong>Clifford Thornton</strong> , a cult free-jazz composer (and former Black Panther Party Minister of Art) who released a spate of classics from ‘67-‘75 on various independent labels. In some ways he could be likened to the Eric Dolphy of his generation, a multi-instrumentalist artist who greatly impacted contemporary musicians around him while remaining out of the general public’s eye.</p>\n<p>From Philly, he was a cousin to jazz drummer J.C. Moses. At seven he started learning piano and as a teenager studied with Donald Byrd and played with jazz tuba player Ray Draper. After moving to NYC in the early ’60s he was hanging around with Don Cherry, Rashied Ali, Amiri Baraka and Marion Brown and found himself playing with Sun Ra, Bill Dixon, Sam Rivers, Archie Shepp and Pharaoh Sanders. He contributed to Marzette Watts’ 1966 debut. Thornton’s own 1967 debut, <em>Freedom &#x26; Unity</em>, featured John Coltrane’s bassist Jimmy Garrison (recorded the day after Trane’s funeral) and a young Joe McPhee.</p>\n<p>In ‘69 Thornton traveled to Algeria with Shepp, followed by some concerts in Belgium and recording in Paris for Actuel, which would result in his <em>Ketchaoua</em> LP, as well as sides for several other artists on the scene. 1970 saw the release of another underknown Thornton gem, <em>The Panther &#x26; The Lash</em>.</p>\n<p>He taught at Wesleyan through ‘75, presenting jazz &#x26; world music of high regard to the students (Horace Silver, Milton Cardona, L. Shankar, Ed Blackwell were among those brought by Thornton). His ‘72 album <em>Communications Network</em> included Shankar, Sirone and Jayne Cortez, while his absolutely amazing <em>The Gardens of Harlem</em> (‘74) with the Jazz Composers Orchestra brought out Cuban and West African rhythms.</p>\n<p>His music was certainly art music, as well it was highly politicized. Well regarded as an arranger and composer, he could play trumpet, cornet, valve trombone, shenai, piano and was a huge influence on McPhee, Fred Ho, Peter Zummo and others. His own catalogue was scant but you can also find him on releases by Anthony Braxton, Joe Malinga, Dave Burrell, Arthur Jones, Sunny Murray, the Full Moon Ensemble and several late ’60s Shepp records. He remains one of my favorites.</p>",
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    "id": "jimmy-reed-sept-6-1925-aug-29-1976",
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      "title": "Jimmy Reed / Sept 6, 1925 - Aug 29, 1976",
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    "body": "![](/images/jimmy-reed-40889-1-402_large.jpg)\n\nThe wildly popular and immediately recognizable blues stylist **Jimmy Reed** was a major influence on rock music. His style was so simple and basic that it didn't matter what the critics said of his music, it was heard far & wide as he cranked out pop hit after pop hit in his formula. His laid-back, almost slurry style was a huge inspiration to members of the '60s rock generation (Rolling Stones, Grateful Dead, Van Morrison, Yardbirds, Elvis Presley, Jimi Hendrix) as well as blues artists like Slim Harpo. Some consider him a precursor to punk rock.\n\nBorn on a plantation in Mississippi, he learned harmonica and guitar from his best friend and musical partner Eddie Taylor. They busked around the region before heading to Chicago in '43. Reed worked as a meat-packer in Gary, IN and played with John Brim's Gary Kings around Gary and Chicago. The band's drummer (future blues guitar icon Albert King!) brought Reed to the new Vee-Jay label where he became one of the biggest blues/R&B artists of the '50s and early '60s. His wife Mama Reed was often an uncredited backing singer on many of his hits.\n\nDespite (or because of) the success, Reed's massive drinking problem led to unreliability. He often couldn't remember lyrics (Mama had to cue him, even on the recordings themselves), he couldn't play or stand up many a time, he pissed himself and developed issues with other artists. He tried to dry up in the early '70s and after an unsuccessful attempt to update his sound with funk, he declined sharply and passed away in '76.",
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      "html": "<p><img src=\"/images/jimmy-reed-40889-1-402_large.jpg\" alt=\"\"></p>\n<p>The wildly popular and immediately recognizable blues stylist <strong>Jimmy Reed</strong> was a major influence on rock music. His style was so simple and basic that it didn’t matter what the critics said of his music, it was heard far &#x26; wide as he cranked out pop hit after pop hit in his formula. His laid-back, almost slurry style was a huge inspiration to members of the ’60s rock generation (Rolling Stones, Grateful Dead, Van Morrison, Yardbirds, Elvis Presley, Jimi Hendrix) as well as blues artists like Slim Harpo. Some consider him a precursor to punk rock.</p>\n<p>Born on a plantation in Mississippi, he learned harmonica and guitar from his best friend and musical partner Eddie Taylor. They busked around the region before heading to Chicago in ‘43. Reed worked as a meat-packer in Gary, IN and played with John Brim’s Gary Kings around Gary and Chicago. The band’s drummer (future blues guitar icon Albert King!) brought Reed to the new Vee-Jay label where he became one of the biggest blues/R&#x26;B artists of the ’50s and early ’60s. His wife Mama Reed was often an uncredited backing singer on many of his hits.</p>\n<p>Despite (or because of) the success, Reed’s massive drinking problem led to unreliability. He often couldn’t remember lyrics (Mama had to cue him, even on the recordings themselves), he couldn’t play or stand up many a time, he pissed himself and developed issues with other artists. He tried to dry up in the early ’70s and after an unsuccessful attempt to update his sound with funk, he declined sharply and passed away in ‘76.</p>",
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    "id": "miguelito-valdes-sept-6-1912-nov-9-1978",
    "data": {
      "title": "Miguelito Valdés / Sept 6, 1912 - Nov 9, 1978",
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      "date": "2017-09-06T00:00:00.000Z"
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    "body": "![](/images/miguelitovaldes_large.jpg)\n\nThe original Mr Babalú **Miguelito Valdés** , the Havana-born icon was a boxing champion in his twenties before turning to music professionally. Playing around Cuba in _son_ & charanga bands in the '20s & '30s, he played trés, guitar, bass and percussion (also a composer) but it was as a singer & interpreter of Afro-Cuban songs that helped him find fame.\n\nIn '37 he joined Orquesta Casino, who were hooked up with RCA-Victor Records, and cut some sides with them, achieving fame enough to do a big tour of Latin America in '39. He joined Orquesta Riverside in '40 before moving to NYC where he found work with Xavier Cugat, Machito, Noro Morales and Tito Rodriguez. \n\nIn the mid '40s he formed his own orchestra, achieving success. He appeared in a dozen films and took his act to Las Vegas in the '60s, as well as hosting a TV show. In '67 he released _Inolvidables_ for Verve. A Cuban legend, he teamed a couple of times with the great Sonora Matancera through the years. Valdés died during a performance in Bogotá, Colombia at the age of 66.",
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      "html": "<p><img src=\"/images/miguelitovaldes_large.jpg\" alt=\"\"></p>\n<p>The original Mr Babalú <strong>Miguelito Valdés</strong> , the Havana-born icon was a boxing champion in his twenties before turning to music professionally. Playing around Cuba in <em>son</em> &#x26; charanga bands in the ’20s &#x26; ’30s, he played trés, guitar, bass and percussion (also a composer) but it was as a singer &#x26; interpreter of Afro-Cuban songs that helped him find fame.</p>\n<p>In ‘37 he joined Orquesta Casino, who were hooked up with RCA-Victor Records, and cut some sides with them, achieving fame enough to do a big tour of Latin America in ‘39. He joined Orquesta Riverside in ‘40 before moving to NYC where he found work with Xavier Cugat, Machito, Noro Morales and Tito Rodriguez.</p>\n<p>In the mid ’40s he formed his own orchestra, achieving success. He appeared in a dozen films and took his act to Las Vegas in the ’60s, as well as hosting a TV show. In ‘67 he released <em>Inolvidables</em> for Verve. A Cuban legend, he teamed a couple of times with the great Sonora Matancera through the years. Valdés died during a performance in Bogotá, Colombia at the age of 66.</p>",
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    "id": "sylvester-sept-6-1947-dec-16-1988",
    "data": {
      "title": "Sylvester / Sept 6, 1947 - Dec 16, 1988",
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      "date": "2017-09-06T00:00:00.000Z"
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    "body": "![](/images/Sylvester_And_The_Hot_Band_-_Sylvester_And_The_Hot_Band_large.jpg)\n\nA left-field favorite of mine, **Sylvester** James Jr became a hugely popular disco singer and a gay icon. But to my ears his best work was with his funky Hot Band, a staple of our _'70s Funk Rock_ DJ parties. But the real story was his colorful life as a flamboyantly out-and-proud gay man with a love for cross-dressing and a creamy falsetto who came to be acknowledged as \"the Queen of Disco\".\n\nFrom Watts, he sang gospel as a child but was kicked out of the church due to his sexual orientation. He and his gay & trans friends would party at Etta James' house, cross-dressing for each other. During the Watts riots they looted for wigs and cosmetics.\n\nHe moved to San Fransisco in '70 and married a man. He was a member of the avant-doo-wop drag group The Cockettes, leaving the group after a performance in NYC. Channeling the spirits of Billie Holiday and Josephine Baker, he performed one-man theatrical shows around California. \n\nIn the early '70s he formed a funk-rock group called The Hot Band who made a couple of great albums (with Pointer Sisters on backing vocals) before breaking up in '73. He went solo in the mid-'70s, playing gay bars around San Fran and befriending Harvey Milk. He had a cameo in the Bette Midler movie _The Rose_. \n\nHaving great success with disco, he had huge hits with \"You Make Me Feel (Mighty Real)\" and \"Dance (Disco Heat)\" before getting into the Hi-NRG scene and becoming part-owner of gay-club-oriented label Megatone. In '85 he sang backing vocals on Aretha Franklin's _Who's Zooming Who_ album.\n\nAfter the losses and deteriorating conditions of his friends, he became an AIDS awareness activist, often volunteering his time and energy. He himself died of AIDS in '88, leaving his future royalties to the cause of fighting or educating about HIV. There have been multiple movies and a musical made about him. Indeed, Sylvester was a one-and-only.",
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      "html": "<p><img src=\"/images/Sylvester_And_The_Hot_Band_-_Sylvester_And_The_Hot_Band_large.jpg\" alt=\"\"></p>\n<p>A left-field favorite of mine, <strong>Sylvester</strong> James Jr became a hugely popular disco singer and a gay icon. But to my ears his best work was with his funky Hot Band, a staple of our <em>’70s Funk Rock</em> DJ parties. But the real story was his colorful life as a flamboyantly out-and-proud gay man with a love for cross-dressing and a creamy falsetto who came to be acknowledged as “the Queen of Disco”.</p>\n<p>From Watts, he sang gospel as a child but was kicked out of the church due to his sexual orientation. He and his gay &#x26; trans friends would party at Etta James’ house, cross-dressing for each other. During the Watts riots they looted for wigs and cosmetics.</p>\n<p>He moved to San Fransisco in ‘70 and married a man. He was a member of the avant-doo-wop drag group The Cockettes, leaving the group after a performance in NYC. Channeling the spirits of Billie Holiday and Josephine Baker, he performed one-man theatrical shows around California.</p>\n<p>In the early ’70s he formed a funk-rock group called The Hot Band who made a couple of great albums (with Pointer Sisters on backing vocals) before breaking up in ‘73. He went solo in the mid-’70s, playing gay bars around San Fran and befriending Harvey Milk. He had a cameo in the Bette Midler movie <em>The Rose</em>.</p>\n<p>Having great success with disco, he had huge hits with “You Make Me Feel (Mighty Real)” and “Dance (Disco Heat)” before getting into the Hi-NRG scene and becoming part-owner of gay-club-oriented label Megatone. In ‘85 he sang backing vocals on Aretha Franklin’s <em>Who’s Zooming Who</em> album.</p>\n<p>After the losses and deteriorating conditions of his friends, he became an AIDS awareness activist, often volunteering his time and energy. He himself died of AIDS in ‘88, leaving his future royalties to the cause of fighting or educating about HIV. There have been multiple movies and a musical made about him. Indeed, Sylvester was a one-and-only.</p>",
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    "id": "freddie-mercury-sept-5-1946-nov-24-1991",
    "data": {
      "title": "Freddie Mercury / Sept 5, 1946 - Nov 24, 1991",
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    "body": "![](/images/Freddie-Mercury-freddie-mercury-13368370-796-1004_large.jpg)\n\nHappy birthday to our biggest Parsi rock star, Farrokh Bulsara aka **Freddie Mercury**. One of the great front-men of rock, Queen was always a favorite of mine for their heavy layers of sound, unique theatricality they humored the masses with and awesome songs and albums.",
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      "html": "<p><img src=\"/images/Freddie-Mercury-freddie-mercury-13368370-796-1004_large.jpg\" alt=\"\"></p>\n<p>Happy birthday to our biggest Parsi rock star, Farrokh Bulsara aka <strong>Freddie Mercury</strong>. One of the great front-men of rock, Queen was always a favorite of mine for their heavy layers of sound, unique theatricality they humored the masses with and awesome songs and albums.</p>",
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          "title": "Freddie Mercury / Sept 5, 1946 - Nov 24, 1991",
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          "date": "September 05, 2017",
          "post": "Freddie Mercury / Sept 5, 1946 - Nov 24, 1991",
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    "id": "john-cage-sept-5-1912-aug-12-1992",
    "data": {
      "title": "John Cage / Sept 5, 1912 - Aug 12, 1992",
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      "date": "2017-09-05T00:00:00.000Z"
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    "body": "![](/images/jcage_large.png)\n\n**John Cage** was one of the first early experimentalists I discovered. As a teenager I had already made my way through punk & industrial and had discovered Japanese noise and 60's black free-jazz. Coming across folks like Cage, Xenakis, Stockhausen and Harry Partch pushed me into brand new ways of appreciating music and sound.\n\nCage's chance operations strategy appealed to my improv side, accompanying my \"zen side\". His prepared piano stuff appealed to the noise freak in me and his overall unique way of approaching the world was inspirational to me and my friends. The icing on the cake came when I saw the 1966 documentary _Sound??_ , which featured his wacky personality alongside the amazing Rahsaan Roland Kirk (who was already a favorite of mine). His silent piece \"4:33\" seemed like an exquisite juicy prank on musical snobbery.\n\nWhile I got a lot out of his work, I do tend to think his analysis of black jazz being \"too emotional\" shows that he completely missed (or dismissed) the point of it. But his mushroom-hopping nuttiness displayed a man whose mere speech served as some kind of elastic poetry. Add in a few mesostics and some piano-wire banging and you've got a true American original.",
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      "html": "<p><img src=\"/images/jcage_large.png\" alt=\"\"></p>\n<p><strong>John Cage</strong> was one of the first early experimentalists I discovered. As a teenager I had already made my way through punk &#x26; industrial and had discovered Japanese noise and 60’s black free-jazz. Coming across folks like Cage, Xenakis, Stockhausen and Harry Partch pushed me into brand new ways of appreciating music and sound.</p>\n<p>Cage’s chance operations strategy appealed to my improv side, accompanying my “zen side”. His prepared piano stuff appealed to the noise freak in me and his overall unique way of approaching the world was inspirational to me and my friends. The icing on the cake came when I saw the 1966 documentary <em>Sound??</em> , which featured his wacky personality alongside the amazing Rahsaan Roland Kirk (who was already a favorite of mine). His silent piece “4:33” seemed like an exquisite juicy prank on musical snobbery.</p>\n<p>While I got a lot out of his work, I do tend to think his analysis of black jazz being “too emotional” shows that he completely missed (or dismissed) the point of it. But his mushroom-hopping nuttiness displayed a man whose mere speech served as some kind of elastic poetry. Add in a few mesostics and some piano-wire banging and you’ve got a true American original.</p>",
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